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Dylan O'Brien Is Here To Charm His Way Into Your Heart

Let me do you a quick favor and introduce you to Dylan O’Brien (if you haven't met yet), A.K.A. the funniest, cutest guy to ever appear on MTV. Oh yeah, he’s also Thomas, the main character in the highly anticipated film The Maze Runner.
Let’s go way back in this introduction, before he was Stiles on Teen Wolf, or before he started running around mazes, back to when O’Brien was a cute, little nugget 14-year-old with a YouTube Channel.
You’ll love Dylan more once you’ve seen his “Dis Be My Channel” with the appropriate username 'moviekidd826':
youtube.com
That is him in the baseball cap and sunglasses, also rocking out on the drums and stealing your former teenage heart.
If you didn’t know how YouTube worked, Dylan was there to teach you how to make a channel of your own:
youtube.com
“Hey guys, moviekidd here!”
If you had no idea who he was then, you sure as hell noticed him when he first appeared on Teen Wolf in 2011 as Stiles Stilinski.
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Stiles is Scott McCall's sarcastic, quick-witted best friend on the show. But really, everyone (including them) knows that those two are brothers. He is pretty much the only reason the werewolf has made it this far on the show.
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But, that’s not the only thing Dylan has worked on that has made us laugh:
He was the super snarky, kind-of asshole genius in The Internship with Vince Vaughn and Owen Wilson:
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The First Time, with his now-girlfriend Britt Robertson:
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How cute is it that they met filming this movie and are still together?! We love him even more for it. You're a lucky gal Britt!
He was even on an episode of New Girl:
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And he totally ships Nick/Jess.
If Dylan wasn’t making waves as an actor, he could go into the business of creating reaction GIFs and make a fortune on the internet, since it already loves him so much:
Grossed out
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Embarassed
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Begging, while a little sad (Dylan is versatile)
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In love
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*Blows kisses right back*
Or, he could totally become a model:
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His Twitter account is a goldmine of funny snippets of his humor and personality:
I forgot my pillow
— Dylan O'Brien (@dylanobrien) August 18, 2014
Just to be clear, when I do a quote retweet, you guys read the quote first...right?
— Dylan O'Brien (@dylanobrien) August 12, 2014
Don't think popsugar has seen Maid in Manhattan. They should. Cuz it's adorable
— Dylan O'Brien (@dylanobrien) August 12, 2014
First little peek at the grievers brought to life #wesyoureagenius pic.twitter.com/7XHw0IHCr7
— Dylan O'Brien (@dylanobrien) July 28, 2014
I luh ya cuties I luh ya luh ya luh ya cuties
— Dylan O'Brien (@dylanobrien) April 1, 2014
We luh ya too Dylan.
He is also the kind of guy that will RT his friends and call them cute:
“@PoulterWill: Our leader and buddy - @dylanobrien !!! #TheMazeRunner pic.twitter.com/CUl6haT8GO” awww my friends are the cutest :)
— Dylan O'Brien (@dylanobrien) August 25, 2014
If that doesn’t just make you want to squeeze him, then I don’t know what will.
Talking about friends, he’s got the best relationship with Teen Wolf star, Tyler Posey:
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He’s so honest, you can’t help but love him:
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Best of all, he isn’t afraid to call himself weird:
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If you haven’t gotten enough of him yet, YouTube is full of videos highlighting his funniest moments (and believe me there, there are TONS to choose from).
Why not indulge yourself and watch this adorable, funny collection of best moments:
youtube.com
Then go see him kick some greiver ass as Thomas in The Maze Runner next week:
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Composers behind the scores for Academy Award-nominated movies Gravity, Her, Philomena, Saving Mr. Banks and The Book Thief were given their chance to shine on Thursday (27Feb14) at the first ever Oscar Concert. Best Original Score nominees William Butler and Owen Pallett (Her), Alexandre Desplat (Philomena), Thomas Newman (Saving Mr. Banks), Steven Price (Gravity), and John Williams (The Book Thief) were invited to take to the stage at the University of California, Los Angeles' Royce Hall, three days before Hollywood's big night, to conduct and direct their works in full.
During the special show, which was hosted by rapper/actor Common, five-time Oscar winner Williams was given a round of applause as he declared, "(Movies) wouldn't be what they are and couldn't be made without the service of a great orchestra."
The Best Original Song nominees were also performed, with Jill Scott taking on Pharrell Williams' Happy from Despicable 2, and composer Kristen Anderson-Lopez taking on Idina Menzel's vocals on Frozen's Let It Go.
The Wolf of Wall Street actress Cristin Milioti covered Karen O's The Moon Song from Her, while former The Voice contestant Matt Carmanski belted out U2's Ordinary Love from Mandela: Long Walk to Freedom.
Each of the artists behind the nominations for Best Original Song will take to the stage at Sunday's (02Mar14) Oscars in Hollywood.

The composers of this year's (14) Oscar-nominated film scores are set to join forces for a very special concert in Los Angeles a week before the Academy Awards. In the first-ever Oscar Concert, William Butler, Owen Pallett, Alexandre Desplat, Thomas Newman, Steven Price and John Williams will conduct and direct their compositions at Royce Hall on 27 February (14).
Butler and Pallett are Oscar nominated for their work in Her, Desplat for Philomena, Newman for Saving Mr. Banks, Price for Gravity and Williams for The Book Thief.
The concert will also feature this year's nominated original songs, including Frozen's Let It Go, and Pharrell Williams' Happy from Despicable Me 2, which will be performed by Jill Scott.
The Oscars take place on 2 March (14).

HBO
HBO’s Looking is in a strategic position to present a fresh perspective on gay men. It joins a roster of water-cooler behemoths like Game of Thrones, True Blood and Girls. It may bring a new view of gay men to the mainstream but it seems to unintentionally (or intentionally) bash other minority groups in the process. It exposes an underbelly of class, race, and sexual discrimination inherent in our culture. But the most offensive part is that it’s not bothering to make a point.
Looking follows the lives of three gay men in San Francisco. Jonathan Groff plays Paddy, the anti-Casanova, a dating-obsessed video game designer with verbal diarrhea. His friends are Dom, a slightly over-the-hill waiter and Agustín, an artist in a new relationship. Compared to its lead-in Girls, it’s notable that the cast has people of color. Agustín is played by Cuban-American actor, Frankie J. Álvarez. His boyfriend, Frank, is played by English bi-racial actor O.T. Fagbenle. Paddy’s co-worker Owen, played by Andrew Law, is Asian-American. Paddy even gets a love interest, Richie (Raúl Castillo), who is Mexican. Great, a show set in San Francisco actually acknowledges the racial make-up of the city’s residents. However, with great minorities come great responsibilities.
The series may be diverse on paper but it doesn’t present people of color as full-fledged characters. Instead, it panders to stereotypes. Owen, the Asian character calls Paddy a “Japanese schoolgirl” for using an emoticon and then offers, “I have some Pokemon cards if you want to borrow them.” Then he rolls back to his desk. Yes, the choice of the video game designer being Asian is a little trite but must he constantly reference his race? Is his character the Asian guy who Asians a lot? When Richie meets Paddy on the bus, Paddy first responds with fear and timidity because Richie’s a working class Latino. Why is he scared? Up to this point, he’s had two failed attempts at romance, what’s wrong with a guy flirting with him on the bus? He later describes Richie as not his “type.” Is it because he’s Latino? When he describes Richie to his friends he whispers the word “Mexican.” The show is trying to make gay people seem like everyone else but it seems to take time out of the show to reference race but not make a statement.
The Richie/Paddy relationship quickly degrades into unabashed sexual fetishization. Paddy is so love-starved that he tries to get into a deep conversation with an anonymous white sex partner that he later reveals he isn’t even attracted to. And yet, Richie is never considered a viable romantic candidate and instantly designated a prospective “f**kbuddy.” Paddy spends the entire episode fixated on the prospect of seeing his uncircumcised penis. Because we’re meant to believe that 99.9% of Latin men are uncircumcised. But, since Agustin says it, it’s not racist. A guy obsessed with seeing an uncircumcised penis is the making of a hilarious plotline. But why does it have to be an uncircumcised Latin penis? If you had any doubts about the racial connotations, Paddy does a Latin-specific Google search.
The wanton sexuality assigned to men of color seems like a throughline throughout the first three episodes. Despite the somewhat tame nature of the show, Agustín and Frank have sex twice in the premiere episode. #firstimpression Agustin starts to entertain the idea of becoming an escort. It's great if the show wants to take a sex-positive approach and/or explore the lives of sex workers. However, given the treatment of the Richie character, it seems like the series creators think Latinos are only good as sexual playthings. Why not have the Asian game designer moonlight as a gigolo? In a later scene set in a bathhouse, Dom is able to have a civilized conversation with another gay gentleman, Lynn (Scott Bakula), until he’s summoned by a masturbating Latino man.
The show continues into murkier waters. In “Looking at Your Browser History,” Agustín gets painted as a delinquent. When asked where he got their placemats he says he stole them from Target. (read: Latinos are thieves). Later, angry for no reason (read: Latinos are feisty), he unabashedly tells his boss how much he dislikes her work. Then, obviously, he gets fired. Is the implication that Latinos can’t keep jobs? Granted, that might seem like a huge leap, if a few minutes later Owen didn’t say “I’m Asian, alright. Our DNA rends itself apart when we lose our jobs.” The implication is, as an Asian person, he is less likely to take risks with his employment. So, via the transitive property, are we supposed to see Agustín as irresponsible with his job? Isn’t the definition of racism that certain value judgments or prejudices are assigned to different races?
The show does deserve some credit for diversity. In a post-Sofia Vergara media world, the main Latino character doesn’t have an accent. However, in an interview Álvarez reveals that his character was originally meant to have an accent, be Venezuelan, and have green card issues. Despite this somewhat progressive take on one character, Richie, the other Latino character, is flummoxed by the word “oncology.” Are we meant to laugh because Latinos mispronouncing words is funny (see: every episode of Modern Family)? Richie has had no problem eloquently flirting up to this point so why do they need to insert a Dangerous Minds moment with Paddy correcting his English?
It’s not Utopia. It’s HBO. Looking shouldn’t have to be crushed under the weight of political correctness. However, you can’t ignore the irony. The show tries to give voice and authenticity to gay men not normally represented in media. And yet, it implicitly subjugates people of color with the same stereotypes we see everywhere else. It would be fine if these borderline racist moments were germane to the plot or made a statement. It would be great if Paddy’s racism taught him a lesson as to why he’s so unsuccessful with men. But he may have been speaking for the writers when he flatly said, “I think I may be racist.”
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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Season 3 of Teen Wolf starts tonight, and if the trailer is anything to by, it's going to be a rough ride.
A whole pack of alphas has moved into town, which doesn't look good for Scott, Derek, and our other friendly neighborhood werewolves. It was hard enough for them to deal with one alpha so how are they going to handle a whole pack?! Also, some British werewolf wants Derek to kill his own pack. Poor Derek. He spent all this time and effort making his pack, and now their lives are in jeopardy — again.
Stiles is still Stiles, which is at least one thing that makes sense. He even gets to kiss someone, not Lydia though. She's too busy going after these mysterious shirtless twins. We thought maybe now that Jackson was dead she'd notice how adorably in love Stiles was with her, but that's apprently not the case. She's also still doing things she can't remember. Get it together, Lydia. Start helping out, stop being such a flirt, and acknowledge Stiles already.
And to top it all off, Scott is still doing that whole angsty "it's my fault everyone gets hurt" speech, so nothing new there. All in all, it looks like things are about to get bloody. So get ready, because this might hurt.
Don't miss the season 3 premiere of Teen Wolf, tonight at 10 on MTV.
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As the end of the Nikita season finale neared, things were looking hopeful. Even though the President of the United States was dead, and Nikita was taking the public fall for it, the team was together and ready to fight to expose the truth of what Amanda had done. Michael and Nikita were alive and together, both having just narrowly escaped death. The remaining Dirty 30 agents were all dead. Division was (finally) blown to bits and the team was at a safe house. They had a tough road ahead of them but they were ready to get to work.
And then Nikita ran. She couldn't put her friends and loved ones "in the line of fire" for her anymore. She left her engagement ring on the window sill and slipped out while everyone was enthusiastically planning a way to clear Nikita's name and find out just how Amanda got the president to kill herself and frame Nikita (while unbeknownst to them, Amanda and The Shop had actually kidnapped the real president back at the international summit last episode, and planted a clone that committed suicide and framed Nikita). When Alex, Ryan, Birkhoff, Michael, and Sonya realized Nikita was no longer in the room with them, Michael knew instantly what was happening. He ran after her, calling her on her cell, but she was long gone, and her cell phone discarded. He found the ring, and the tears started flowing.
"Mikita" has weathered so much this season, from Michael's son with another woman to Nikita chopping off his hand. Even in Friday's finale, Nikita almost lost Michael when he volunteered to have his heart stopped for 20 minutes to kill all the nanotoxins in his body so Amanda couldn't trigger them and Nikita wouldn't have to go through with killing the president. When they tried reviving him, it took too long, and when the music started swelling it looked like we had lost another major Nikita player (RIP Sean Pierce, I'm still not done mourning you!). I'm not going to lie, I was sobbing. There was no way after suffering from heart failure for longer than 20 minutes that Michael would survive, and even if he did, there had to have been some brain damage, right?
But miraculously, Michael gained conciousness with a witty one-liner that let everyone know he was alive and well, no brain damage at all! Everyone was happy, safe, and ready to clear Nikita's name... except for Nikita.
We've seen Nikita struggle with letting go and working as a team the entire series, and even when we thought she might finally let her guard down with her friends and fiance, she reverted back to Season 1's Nikita. Setting off on her own will certainly make it harder for her to clear her name, but she never could truly allow her loved ones to risk their lives for her. She always tries to solve her problems on her own, as we've seen in many previous missions.
As we head in a shortened, and final, Season 4 (six episodes, to be exact), we can sure as hell expect Michael to hunt down his future-wife, force that ring back on her finger, and help her clear her name, whether she wants him to or not. But knowing Nikita, and how amazing she is at disappearing, he might have a tough road ahead of him. If he can find her, will "Mikita" ever be the same again?
We'll have to wait until the final six episodes of the series air to find out the fate of Michael and Nikita, as well as bad-guy-possibly-turned-good-guy Sam (no longer Owen), Alex's new role as a UN spokesperson, and Amanda and The Shop's plans for their presidential hostage. Until then, time to go back and re-watch Season 3!
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The big moment has finally arrived on tonight's Nikita: Nikita (Maggie Q) and Amanda (Melinda Clarke) in the same room, together for the first time since Nikita was forced to chop off Michael’s (Shane West) hand to save his life as a result of Amanda’s actions. This entire season has centered around the cat and mouse game Amanda has played with Nikita and Division, and last week featured her betrayal of longtime love and ally Ari Tasarov (Peter Outerbridge). In tonight's can't-miss episode, "Reunion," we'll watch Amanda attempt to kidnap Ari’s son Stefan to use him as leverage. But since he is still in Division’s protective custody, Ari begs Nikita for help. However, Stefan’s bodyguard manages to capture both Nikita and Amanda, and the two must work together to escape.
Whoa, Amanda and Nikita have to work together? We told you tonight’s episode is a can’t-miss! With both the big bad of the season and our heroine captured — plus severely raised stakes — don’t expect all of your favorites to make it out of this season alive. Dillon Casey, the man behind the Navy SEAL-turned-Division agent Sean Pierce, warned Hollywood.com that there will be some major casualties. "A lot of bodies are going to start hitting the floor," Casey reveals. "Nobody is safe."
RELATED: 'Nikita': Devon Sawa on Owen in Love, Zombie Percy, and the Opposite of a Bromance
We've always known that Nikita is a high-stakes show, with characters dying all the time. But will one of our favorites be among the casualties? "I can’t tell you who is dying, but I can tell you that at least two very important people will be dead by the end of this season," Casey says. How’s that for a reveal? Time to start the speculation: who isn’t going to make it out of this season alive? We hope it’s Amanda, but something tells us we’re going to be shedding some tears for someone on the good side of Division...
Casey also mapped out the plan for the rest of the season: the focus is now firmly on taking down Amanda before she takes down Division. "The Dirty 30 has been put on ice for a while, because Amanda’s taking stronger action against Division," Casey says. "She has risen up as the main villain that they have to face now, and she wants to take down Division — take down Nikita — [using] whatever means necessary. She is the number one person they have to worry about."
And even though Division has a lot of expensive technology and resources behind them, it will take a lot more to defeat the nefarious Amanda. "She has been planning this for ages, so they have to face being a step behind for a while," Casey says. "There is a lot more asking the question, 'does the end justify the means?'"
RELATED: Dillon Casey Tells Why 'Nikita' Turned His Character Into a Nintendo-Loving Stoner
That question has been a plague ever since the good guys took over Division. What happens after Division has taken down Amanda and the Dirty 30? Do they keep it running, or shut it down?
"[Division] has too much power and not enough accountability," Casey says. "It's always on a slippery slope, and it always comes down to the morals of the people running it. So Fletcher now has a lot of power in his hands. Whether or not Division’s a good or a bad thing is fully dependent on his decisions."
And now that Division's one ally in the government is dead (thanks to, surprise surprise, Amanda), that slippery slope of using Division for good or evil has even higher consequences. "For the President, the only way to shut it down is to kill it, and kill everybody involved," Casey says. "As an illegal operation they could decide to go rogue and essentially become terrorists. It’s mutually assured destruction between the President and Division. [At] any minute they could decide to wage war on the other."
But the one thing keeping the uneasy alliance in check is the one thing they are working together to take down. "It’s like these two people who wished the other didn’t exist, battling against a common enemy," Casey says. "It’s the common enemy that keeps them both going. It keeps them allied. And that common enemy is Amanda."
So what do we think — should she die, or is Amanda's life too important for the rest of our heroes? Let us know in the comments below!
Nikita airs Fridays at 8 PM ET/PT on The CW.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Ben Mark Holzberg/The CW]
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